SHS Web of Conferences 26, 01099 (2016) DOI: 10.

1051/ shsconf/20162601099
ERPA 2015

Music and movement: A comparative study

between the BAPNE and Suzuki Methods
Elisa De Munari1a, Giorgio Cozzutti1, and Francisco Javier Romero-Naranjo2
1
BAPNE Research Group, via IV Novembre 35, Codroipo 33033, Italy
2
Departement of Innovation and Didactic Training, University of Alicante, San Vicente del Raspeig
s/n 03080 Alicante, Spain DP Sciences, Production Department, 91944 Les Ulis Cedex A, France

Abstract. The aim of this article is to compare the Suzuki and BAPNE
methods based on bibliography published for both approaches. In the field
of musical and instrumental education and especially for the childhood
stage, the correct use of the body and voice are of fundamental importance.
These two methods differ from one another; one principally musical and
instrumental, which is the Suzuki method, and one non-musical, the
BAPNE method, which aims at stimulating attention, concentration,
memory and the executing function of the pupil through music and body
percussion. Comparing different approaches may provide teachers with a
useful insight for facing different issues related to their discipline.

1 Introduction
In the field of music teaching the comparison between different methodologies takes up
great importance. New teaching strategies and contributions can be found through the
knowledge of different musical methods and their comparison, highlighting their pros and
cons. Use of movement in music teaching has become, lately, a very important and
recognized aspect for the dynamism and the contribution in terms of involvement in
learning which it may offer. The BAPNE and the SUZUKI methods both have evident
elements of connection with the use of movement in learning music. Specifically body
percussion offers elements of considerable educational interest [13]. The author has
attended the Suzuki rhythm education courses and since 2011 has been teaching this
method in various schools. She has also attended the Suzuki contrabass education courses
and since 2013 has been teaching for this instrument following this method. Since 2014 she
has been attending the BAPNE education courses.

a
Corresponding author: elisademunari@hotmail.com

© The Authors, published by EDP Sciences. This is an open access article distributed under the terms of the
Creative Commons Attribution License 4.0 (http://creativecommons.org/licenses/by/4.0/).
 SHS Web of Conferences 26, 01099 (2016) DOI: 10.1051/ shsconf/20162601099
ERPA 2015

2 Methods and Results

For comparison purposes the author has made use of the model provided by the article by
Ana Lucia Frega and by Giorgio Cozzutti [1]. The parameters analyzed are various, among
which the most relevant are: use of harmony and melody, use of the body, flow, laterality,
creativity. These parameters therefore also include aspects which are not only musical, to
gain a broader view of both methods. At the moment there are no comparative studies on
Bapne and Suzuki methods.
In the Suzuki method there are some aspects which are not taken into consideration by
BAPNE. They involve the focused use of musical elements for instrumental preparation
and especially aimed at the development of fine mobility. The structure is defined and
proceeds from the global, with a predominant use of the body, to the analytic and abstract.
At the same time there are some specific aspects which belong to the BAPNE method
which cannot be found in Suzuki: the movement in space associated to singing is
systematic and progressive [2] there is a lot of practice in polyrhythmics, work is always
developed in a circle layout to allow for greater integration of the participants, cognitive
stimulation, which is constant and progressive, is supported by scientific studies. The study
on laterality is very present in the BAPNE method.
Table 1. Comparison between the two methods
Parameter Suzuki BAPNE
It is based on studies on the psycho-physiological
perspective and psycho-biological of the body
Psychologi Method of the mother tongue (socio affective
percussion, the cognitive theories and principles
cal Basics base)
and techniques of reinforcement and compensation
in a conductive view.

Western tonal music, especially of the Baroque

The method refers to african principles and values.
Aesthetic and classicist period. Aimed at training a
It uses traditional musical material and tends
position performer, for this reason improvisation is not
towards self-expression and cognitive stimulation.
practiced much.

Child-sized professional instruments (violin,

cello, guitar), use of small rhythmic instruments
Materials Only the use of the body for the majority of the
to help rhythmic learning, use of the body
used activities.
functional to the instrument. (rhythmic and
gestural choreographies)

Tonal, works a lot on colour and dynamics of

Musical The method does not contemplate the learning of
sound (forte, piano, vibrato, staccato, legato,
language musical language at a generic level, at a specific
intensity, height, duration), on melody, harmony,
and ear level it offers strategies for the acquisition of
form, rhythm. The child immediately learns the
training rhythmic values.
pieces as a professional performer

Musical notation (rhythmic) is used to help in the

Use of The child must memorize everything. Reading is conduction of the exercises, in connection with
musical only introduced later, rhythmic first and then on figures of the human body which identify the
notation the pentagram movements to be carried out. Melodic notation is
also present for the songs used.

Suggestion Listening, singing, performance with the Listening, singing and movement are always
s as to instrument, if necessary on the body, use of fine developed in connection with the suggested songs.
actual hand movements. There is no connection with the musical instrument.

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 SHS Web of Conferences 26, 01099 (2016) DOI: 10.1051/ shsconf/20162601099
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musical The body is always used in the activities, as

activities percussive instrument and in its movement in space.

The method has strong implications in the

cognitive, affective and ability development areas.
Education aims at the stimulation of all the cerebral
Curricular The course is very centered on the discipline and
lobes connected with the development of different
structure the repetition of patterns, modular curriculum
multiple intelligences postulated by Gardner
(1983).

5 basic rhythms are immediately taught, Rhythm is used in a practical way in connection
Use of
functional to the repertoire. Then progressively with the movement of the body. It is also present in
rhythm
more difficult rhythms are dealt with improvisation.

Use of Tonal, classical western repertoire. Use of the Melody is used in context with the singing of the
melody name of the notes songs, there is no specific study of melody.

Harmony is not used since songs are essentially in

Use of
Used in all progressions single voice and the accompaniment of musical
harmony
instruments is not contemplated.

Imitation, contrary and inverse reaction,

Learning Imitation, small fragments of improvisation and
signalization in real time, circular variable
methods invention. Teacher-parent-son triangle
coordination.

Learning
Activities are presented in a very strict and
process Starting from 3 years of age, The development of
structured way, starting from scientific studies
linked to each child is followed in accordance with the
which show the effective psycho-motor abilities
chronologic parent. Frontal. Many orchestral lessons
based on chronological age.
al age

Reference to flux status (Csikszentmihalyi, 1990)

and work in circles and concentric circles with
Flow status No reference is made to the flow status specific reference to the production of hormones
such as oxytocin and cortisol in the opposition of
different types of work.

There is no specific reference. The method

nonetheless is based on specific activities which For each activity the different developed attentions
Attention
each teacher develops to maintain and develop are indicated, sustained alternating and selective.
the attention of the child

All pieces are learnt by heart. There is no specific

For each activity the typology of developed
Memory difference between short term memory and long
memory is indicated, short or long term.
term memory

It is constantly developed with specific exercises

and games particularly with reference to bio-
use of hands and feet combined, alternated,
Laterality mechanical planes and the parietal lobe, especially
dissociated, differentiation between right hand
concerning somatic-sensorial laterality.
(arc) and left (instrument) starting from age 3

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SHS Web of Conferences 26, 01099 (2016) DOI: 10.1051/ shsconf/20162601099
ERPA 2015

3 Discussion and Conclusion

There are some points in common and of difference between the two disciplines which can
be elements of integration finalized towards a possible development of single
methodologies.

3.1 Learning process

The Suzuki method is based on imitation and work is carried out frontally. It may be
integrated with the BAPNE method in which 4 different processes of learning are provided:
imitation, inverse and reverse reaction, real time signalling and variable circular
coordination. The activities in this method are carried out in pairs, double line, circle and
double concentric circle.

3.2 Use of melody-harmony

In Suzuki the melodic forms are limited to the classical and partially folk repertoire, but
always tonal. It is interesting to integrate it with the use of the extraeuropean and modal
repertoire carried out in BAPNE (Quarello-Pezzuto-Romero, 2014). In Suzuki work on the
education of the musical ear is specifically carried out, both for melody and for harmony,
while this does not take place in BAPNE.

3.3 Laterality

In BAPNE the two sides of the body are developed harmonically, trying to favour their
integration [12]. There is much attention to the personal story of each participant, in respect
of their characteristics (left or right-handed). In Suzuki all is taught as right-handed.

3.4 Use of the body

In Suzuki melodic and harmonic senses, natural movement and sense of rhythm are
developed. Much work is done on fine mobility connected to the use of the instrument
motility in connection with the use of the instrument. In BAPNE movement is developed
with the objective of polymetric and improvising use in a cognitive, socio-emotional,
psycho-motor and neuro-rehabilitating view.

3.5 Affective-psychological foundations

Suzuki works on the teacher-mother-son triangle, trying to favour the harmonic

development of the relationship. Furthermore with the orchestral lessons there is an attempt
to develop the collaborative and cooperative sense of the child. In BAPNE work is done in
a group, favouring integration, respect, sense of community.
The Suzuki method is essentially a musical method aimed at teaching instrumental
practice, principally based on imitation and on a shared melodic repertoire. The BAPNE
method has the objective of cognitive, socio-emotional, psycho-motor and neuro-
rehabilitating stimulation through the use of body percussion and spoken, thought, recited
and sung voice. The comparison between these two clearly different methodologies, in
goals and modalities may be an interesting instrument of growth drawing lines along which
both methods can be developed.

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